A Companion to Celebrity by P. David Marshall

By P. David Marshall

Companion to Celebrity offers a multi-disciplinary choice of unique essays that discover myriad matters when it comes to the origins, evolution, and present traits within the box of megastar studies.

  • Offers an in depth, systematic, and transparent presentation of all points of famous person reviews, with a constitution that conscientiously construct its enquiry
  • Draws at the most modern scholarly advancements in superstar analyses
  • Presents new and provocative methods of exploring celebrity’s meanings and textures
  • Considers the progressive ways that new social media have impacted at the creation and intake of celebrity 

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What we experience and report will accordingly be what is brought to our attention by the range of concepts we possess and the nature of the discriminations they enable us to make” (2002: 44). The trouble is that some concepts are so loosely used that they become vacuous; they fail, that is, to isolate key features from other less distinctive features and therefore permit only very careless discriminations. If I am right that the word “celebrity” is indeed used both to praise and to blame according to sometimes strong, sometimes transient emotions, then an essay such as this, seeking both to historicize and to refine the understanding of such a concept and its expressive force becomes, in ambition at least, an essay in moral theory.

The war of every man against every man – competition and individualism, in other words – is the religion of our time, justified by a mythology of lone rangers, sole traders, selfstarters, self-made men and women, going it alone. For the most social of creatures, 10 P. David Marshall and Sean Redmond who cannot prosper without love, there is no such thing as society, only heroic individualism. What counts is to win. The rest is collateral damage. Zygmunt Bauman takes a similar position where he outlines how late modernity has stripped away a range of solid connections to be replaced with floating networks, neo-tribes without emancipation, and just-in-time consumption demands that govern all aspects of our lives, including love and intimacy (2000).

In addition, it rereads the modernism turn through Bourdieu’s fields approach to discuss how the disdaining artist also became a trope of autobiographical writing in the tradition of Hemingway and Faulkner and others. Glass successfully links these brands of literary celebrity to the adjudicating worlds of critics and awards and the way these generated a new branding of the global and globalized author in the latter half of the twentieth century. Gaylyn Studlar’s “The changing face of celebrity and the emergence of motion picture stardom” provides a genealogical map of film stardom.

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